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30 December, 2005

Every year ARTEXPRESS presents a cultural snapshot, an up-to-the-minute insight into students' creativity and the issues and ideas they elect as especially relevant to them. ARTEXPRESS has grown from a small educational exhibition of student work in the late 1950s to become a major touring exhibition that is a highlight of the annual exhibition program in many parts of New South Wales. Each year it provides a window on the sustained and focused engagement with art practice by youth alongside a confirmation of the outstanding talent and ongoing professionalism of NSW Visual Arts teachers.

Selections of works submitted for the NSW Higher School Certificate visual arts examination have been presented in the Art Gallery of New South Wales, the exhibition's principal venue, since 1983. ARTEXPRESS affirms the Gallery's commitment to and participation in art education by allowing student artists' work from government and non-government schools to be seen alongside works by professional artists in a Gallery environment.

The Art Gallery of New South Wales is proud to present this exhibition of outstanding art practice being generated in our classrooms.

ARTEXPRESS is a joint project of the NSW Department of Education and Training and the Board of Studies NSW in association with the Art Gallery of New South Wales.

The Inside ARTEXPRESS website was created to allow more young people the ability to view and comment on the work of their peers.

runway is an independent, artist driven project aimed at enabling artists to participate on a level beside and beyond exhibition. Published by The Invisible Inc, runway presents a forum for discourse, documentation and discussion centring on visual arts in the Sydney region and beyond.

Initiated in 2002, runway is produced biannually and is steadily building a reputation as a vital artist run initiative, providing young and emerging artists with the opportunity to present new work in a format alternative to the gallery space.----------------------- The seventh issue of runway will be released in April 2006. Artists, writers and curators are invited to create new work responding to the theme of ‘copy’.

Final submissions are due February 1 2006 and may take the form of a visual or text-based piece. Written works must be kept to a maximum of 2,000 words and visual works must be no more than six single-sided A5 pages.

Due to increased funding in 2006 runway is now able to offer artists' and writers' fees for submissions accepted for publication.

"There is a striking difference between the ethnic background of museum and gallery curators and that of a multi-cultural capital [like London] where people of color make up thirty percent of the population," notes Roche.

Culture Minister David Lammy recently denounced "the control of the white Establishment on British artistic life"—an assessment confirmed by Le Monde's survey.

"Six percent of curators belong to ethnic minorities," writes Roche. "There are none at the National Gallery, Portrait Gallery or Tate Modern. None at the ICA, Serpentine and Barbican.

There are ten from the 230 at the British Museum, but they are all working in the departments dedicated to primitive art, as is also the case at the V&A (eight from ninety-five)."

While race is often thematized in exhibitions, the racial identity of curators has generally escaped notice, if not critique. After race, gender also seems to pose a barrier, albeit of another type.

"The world of museums is still very traditional," Nigel Barley, the former director of the British Museum, told Le Monde. "I would be surprised if, in ten years, the director of the Tate is not a white man from the upper class."from Artforum

----------------------------------Le Monde's Marc Roche takes a look at "Inspire," a new program designed by the Arts Council of England to increase the number of visible minorities holding curatorial and management positions at British museums and galleries.

"There's a gap between the large number of artists of color and their weak representation at the head of museums and galleries," says Inspire's director Niui Ratnam. "Right now, the candidates for management jobs in national museums and galleries all seem to have come from the same mould."

An international print annual with the premise that no art form has broader implications in contemporary society than that of the print. The aim is to gather and exhibit contemporary art print works from all over the world and to contribute to the contacts and the exchange between artists, art lovers and collectors and to stimulate the research into paper, inks, and other materials used in printmaking.

"Right from the get-go, she understood that to influence people's ideas on issues of gender, her means of doing that was to put on a public performance. Australians of that era will remember her displaying her long legs and talking dirty, and talking about sex on television and shocking people."

She posed nude for Suck. She wrote about groupie culture. She had a three-week marriage to a builder's labourer she had just met. "She paraded him as a piece of rough trade. She really was fabulous,"

Spender agrees and notes that gender plays a role, too. "If she were a man, she would be on a pedestal. And if Australia had a bit more maturity, we might claim her as one of the leading intellectuals of our time."more

Dale Spender's Man Made Language is a radical feminist analysis of language published in 1980. This is a highly influential text for the women's movement as a whole and specifically for the discipline of women's studies. Spender articulates a theory of the male control over the English language and the way that women have been systematically silenced through the forms of language, the conventions of male and female speech, the exclusion of women from print culture and the patriarchal structures at the heart of the gatekeeping process.

'The dichotomy of public/private becomes significant in any consideration of writing and the sexes: males are associated with the public sphere (that is published writing) while females are associated with the private sphere. Females who take up their pen have, at least, the potential to enter the public sphere and thereby to cross - and confound - classification boundaries. This makes the woman writer, like the woman speaker, a contradiction in terms, and a contradiction which not only has to be accommodated by patriarchal order, but by women writers as well.'(p. 191)

18 December, 2005

This set of Internet Development Guides will help Australian cultural workers and cultural organisations discover why they should use the Internet, how they might use it, and how to develop an Internet presence.

The renowned 17th-century painter Rembrandt unwittingly captured some very modern principles of brain science in his portraits, psychologists have found.

The paintings, they add, may also help provide surprising insights into how the brain governs emotion differently in males and females.

The researchers, James A. Schirillo and Melissa A. Fox of Wake Forest University in Winston-Salem, N.C., found a curious pattern in the paintings. Among female portraits, 74 percent of the faces are turned so that the left cheek faces the viewer. But male faces display the precise opposite pattern: 74 percent are turned so that their right cheek faces the viewer.

In a way, this makes sense, Schirillo and Fox said. The right and left sides of the face express emotion differently because strong emotion falls chiefly under the control of one side of the brain—the right.

“Rembrandt perhaps instinctively saw these differences in the facial musculature, although he certainly did not know” about the brain structures responsible, write Fox and Schirillo in a paper to appear in the art journal Leonardo. A version of the paper was also published in the August issue of the journal Behavioral and Brain Sciences.

But while the connection between the brain research and the portraits may seem obvious at first glance, Fox and Schirillo noted, the link isn’t simple.

Each side of the brain governs the opposite side of the body. So the fact that the right brain controls strong emotions suggests the left side of the face would express more emotions. Some studies have confirmed this.

Thus, it might seem logical for artists—who tend to want to make an emotional impact—to prefer showing the left side of the face. Past research supports this notion as well. A 1973 survey of Western European portraits from the past 500 years found that 60 percent had their subjects posed with the left side of their face turned toward the viewer; a later survey found similar trends dating back to the Stone Age.

But Rembrandt’s approach was in some ways radically different from this average.

With females, he followed the same tendency as other artists, to a more extreme degree. Yet with males, it seems he took the opposite approach.

What does this mean? Did he want to highlight the emotion in his females, and suppress it in the males?

To explore the issue, Schirillo and Fox surveyed the reactions of 73 college students to male and female Rembrandt portraits. The researchers reasoned that these reactions might provide insights into what kinds of emotions the paintings conveyed, and how different head positions might influence these.

The results were surprising. The students rated the females portrayed in the paintings as more “approachable” in general than males, whom they described more often as the sorts of people they would rather avoid.

The ratings also varied depending on the orientation of the painted subject.

For female subjects, the viewers rated subjects with their left, or “emotional,” cheeks facing outward as more approachable.

Yet remarkably, “male portraits produced the exact opposite pattern of results,” Schirillo and Fox wrote. If their left cheeks faced outward, viewers tended to rate them as even less approachable than the other males—who already were seen as less approachable, as a group, than the females.

Thus the overall trend, Schirillo and Fox wrote, was that viewers liked the “emotional” side of women’s faces, but shied away from the “emotional” side of men’s faces. Rembrandt’s decision to hide that side of men’s faces most of the time may have actually minimized their unpleasantness.

But why would the emotional side of males be something to avoid? Possibly because strong emotion in males contains a dose of aggression lacking in females, Fox and Schirillo speculated. Thus people might prefer the less emotional side of men’s faces because it’s also the “non-aggressive side.”

It’s also possible that the male emotional side repels viewers because of a stereotype that emotion signifies weakness in males, Schirillo said. However, he added that he thinks the first explanation more likely, because strong emotions in males often contain an aggressive, dominance-seeking component.

Whether a poser faces left or right isn’t always a painter’s decision. Often the sitters themselves decide, Schirillo and Fox noted. They, too, may instinctively prefer to show their left side. This may also explain the preponderance of this orientation in the artistic record.

One notable finding, they added, was that a 1999 study of portraits of scientists from the Royal Society in the U.K. bucked the overall trend. The scientists were no more prone to show their left side than their right. This might reflect scientists’ wish to “conceal negative emotions,” of signs of emotion that might detract from an image of calm, rational neutrality, Schirillo and Fox wrote.

The practice of ostracism: Philochorus explains Ostracism in his Book III, sets it down as follows:

"Ostracism is as follows: The Demos takes a vote before the 8th Prytany, as to whether it seemed best to hold an ostracism. When the response is positive, the Agora is fenced off with barricades; ten entrances were left open, through which they entered according to Phyle and deposited their potsherds, keeping face-down what they had written. The Nine Archons and the Boule presided. After they added up the results, whoever received the largest number, and it had to be not less than 6,000, was required to pay the penalty: he had to settle his private affairs within ten days and to depart from the City for ten years (though it later was made five years); he still received the income from his property, but he could not come nearer than Geraistos, the promontory of Euboea. Hyperbolus was the sole undistinguished person to suffer ostracism, on account of the degeneracy of his habits, not because he was suspected of aiming at tyranny. After him the practice was abandoned, which had begun when Kleisthenes was legislating, when he expelled the tyrants, so that he might toss out their friends as well.Greek & Roman History links

The temple of Hephaestus was located on a hill overlooking the northwestern corner of the Agora. Hephaestus, a god of fire, blacksmiths, and craftsmen shared this temple with Athena, who was also a goddess of crafts and craftsmen. The temple is located in an area occupied by many potters' shops and metal working factories.

Its one thing to 'know' that democracy began with pottery shards in Greece, its another to walk the Agora and view the actual pieces. Apparently, the votes were preprepared, the shards being handed out like 'how to vote' cards.

Interesting that the only temple still standing is dedicated to the god/goddess of craftpersons and metalworkers isn't it?

17 December, 2005

For hundreds of years, the Mithila region of central Bihar, India, and southern Nepal has been home to a women's wall and floor painting tradition, rooted in life cycle and domestic rituals. Since the mid-1960s when the paintings were first transferred to paper, the painting tradition has expanded dramatically, artists of international stature have emerged, and Mithila painting has become a great gift to the world.

The Ethnic Arts Foundation (EAF) was established in 1980 to promote national and international recognition and appreciation of Mithila painting; to encourage its continuing evolution and development; to increase the flow of returns to the painters and the community; and to help identify and train future generations of artists.

This website is intended as an introduction and tribute to the Mithila artists, their work, and their community.paintings

"To this day, the FBI agents do not know who actually painted the forgeries. Copying of a painting is itself not illegal; it’s only when you try to sell it as authentic that it becomes fraud. Some experts say the painter is unlikely to have been American, because American art schools now rarely teach traditional oil technique. They suggest that a more likely place is China, which is flush with ultracheap labor. “The Chinese have a lot of people doing it,” says Denis Dutton, an art expert and professor at the University of Canterbury in New Zealand. Given the high quality of the Gauguin copy she saw, the Wildenstein Institute’s Sylvie Crussard thinks the painter must have been young and vigorous. “You can’t be old,” she says, “to do that.”"

09 December, 2005

Among the works on view are a series titled Gunflake consisting of thirty plus 24" x 18" charcoal rubbings of actual handguns. Fiore uses the handgun as a design element; rubbings of which forms a target like star shaped circle. Contradiction arises when the viewer realizes that potentially violent, metal weapons were used to form an intricate and delicate pattern resembling a snowflake.

Gun Flake (installation), 2002 each drawing:charcoal on Japanese paper. each image 24"x18"

In the series Firework Drawing, Fiore questions the nature of and in certain ways removes the artists hand from drawing when she uses the fire crackers and other explosives as a means of mark-making and random design. In this case a lit firework does the "drawing".press releaseimages

08 December, 2005

"many of your images dropped from the pirate Arch-World site. In a while everything was gone and we seemed to have cause to celebrate. However, after twelve hours the website reappeared with replicas of your paintings for sale as before."link

"It turned out to be a big site that 'represented' more than 2800 artists, living and dead. These folks have been simply 'lifting' images from dealer and public gallery websites, and other on-line pages. While the quality must be fairly poor, they are offering them as giclees or photocopies in several sizes"

In 1886, French author Victor Hugo helped initiate the Berne Convention for the Protection of Literary and Artistic Works. Prior to that, entrepreneurs in countries like England and France freely used each other's authors and artists without compensation or recourse. The Convention now requires its signatories to protect the copyright on works from other signatory countries in the same way it protects the copyright of its own nationals.

The conscious production or arrangement of sounds, colors, forms, movements, or other elements in a manner that affects the sense of beauty, specifically the production of the beautiful in a graphic or plastic medium.

prop·a·gan·da

1) The systematic propagation of a doctrine or cause or of information reflecting the views and interests of those advocating such a doctrine or cause. 2) Material disseminated by the advocates or opponents of a doctrine or cause: wartime propaganda

07 December, 2005

Framework: The Finnish Art Review is dedicated to contemporary art and culture, and is published by FRAME, The Finnish Fund for Art Exchange www.frame-fund.fi It is a an enhanced and expanded continuation of FRAMEnews, published in the years 2000-2003.

The launch of Framework as a new bi-annual magazine is made possible through the generous support of the Finnish Cultural Foundation and the Finnish Ministry of Culture.

Framework is a discursive forum that opens a space for a variety of visual material, as well as extensive articles, analyses and international commentaries. One of its major tasks is to assist in establishing Finnish contemporary art on the international scene - to connect the local to the international. It is primarily concerned with visual arts and culture, but will also deal with other art forms and cultural criticism at large. Framework emphasises and supports cross-disciplinary aspects of art that transcend conventional boundaries.

Although the cultural roots of Framework remain in Finland, the project is designed to broaden geographical and cultural horizons, especially to the other Nordic countries, the Baltic States and Russia. This is a vast region, set to undergo profound cultural, societal and political changes in the coming years. From this perspective, the magazine adds an interesting and original northern voice to the international discourse. FRAME’s international network of collaborators and visitors provides the magazine with contributors and visiting special editors; and with the help of its collaborators and friends the review can build up a kind of “critical frame” offering an open space for different viewpoints to meet and engage in multilogue.

This continuously updated online newsletter lists grants, fellowships, internships and study abroad opportunities for graduate students in art history and closely related areas such as humanities and visual art studies. It also carries listings of art history conferences and publication opportunities of particular interest to graduate students. Some listings are also open to undergraduates or to postdocs.

Animal Farm (1945) - satirical allegory of the Russian Revolution, particularly directed against Stalin's Russia. Led by the pigs, the Animals on Mr Jones's farm revolt against their human masters.

After their victory they decide to run the farm themselves on egalitarian principles. Inspired by the example of Boxer, the hard-working horse, the cooperation prosper. The pigs become corrupted by power and a new tyranny is established under Napoleon (Stalin). 'All animals are equal, but some animals are more equal than others.' Snowball (Trotsky), an idealist, is driven out.

The final betrayal is made when the pigs engineer a rapproachement with Mr Jones.

The book was originally rejected for publication by T.S. Eliot in 1944, but has gained since its appearance in 1945 a status of a classic. - Film adaptation from 1955 was a faithful rendition of Orwell's original work, but watered in the end the satire, and presented a socialist viewpoint: the system is good, but the individuals are corruptible.link

The Origins of European Printmaking15th Century Woodcuts and their PublicFrom Dec 15, 2005 until March19, 2006

The exhibition deals with the "birth" of a mass medium in the late Middle Ages. The earliest pictorial prints owe their existence to a growing demand for personally-owned religious images. Although the early single-leaf woodcuts with their vivid iconography were originally printed in large runs, very few examples have survived. These rank today among the most treasured holdings of any cabinet of prints and drawings. Organized in cooperation with the National Gallery of Art in Washington, D.C. under the curatorship of leading specialists and highlighted by generous loans from all over Europe and the USA, this exhibition offers a fascinating introduction to the early history of printed graphics.

more ... (Link to the German page)------------------------------------

The first mass-production of images in Europe occurred in the 15th century, making it possible for people of all stations to own a picture. This exhibition of some 140 early woodcuts, books, printed textiles, and other related objects examines the role of replicated images in late medieval culture. Most often early prints provided an inexpensive and easily available picture of a favorite saint or an event from the Passion, but they also made possible the circulation and improvement of maps, the instruction of memory, and notification of counterfeit coins. The exhibition will explore how prints were used and understood in their time, including images designed to convey a New Year's greeting, commemorate pilgrimages, transmit the touch of a holy relic, exorcise demons, and apply for time off in purgatory. Approximately one-third of the exhibition comes from the National Gallery of Art's outstanding collection, together with works from the Germanisches Nationalmuseum, Nuremberg, and loans from many other public and private collections throughout Europe and America

Ausstellung in that national Gallery OF kind,Washington 4 September - 27 November 2005in the Germanic national museum Nuernberg 15 December 2005 - 19 March 2006

The exhibition acts of the birth of a "mass medium" in the late Middle Ages. The woodcut, the oldest European picture printing, which introduced the triumphant advance of the printed media, owes its emergence above all to the increasing demand for private possession at religious pictures. Bonded into handwriting or at suitable places in the house the early woodcuts would fulfill various purposes: They served the private devotion, the religious and moral instruction, the drain nature, religious propaganda, the defense of mischief in addition, the switching of practical and taught of knowledge, the decoration, the maintenance and satire. With their broad availability and their high mobility they introduced a new epoch of figurative communication and the spacious European picture transfer.

Those the medium own practice of copying and spreading models questions conventional research methods like the style criticism. Therefore to the exhibition sheets were preferably taken up, whose historical context and concrete picture use are restorable. These examples do not only supply load-carrying statements over place and time of their emergence, but contribute also to understand the complex role of the pictures in the culture of the late Middle Ages.

The exhibition covers 106 selected examples and is divided into the following sections:The emergence of a medium - the early woodcut - function and use - suffering and Mitleiden - model and instruction - calling the holy ones. By the early a sheet woodcuts with their urgent picture language, printed in high editions, only few, usually unikale copies are received. They belong today to the most precious possession of the graphic collections. With its outstanding existence the Germanic national museum and national the Gallery OF kind in Washington have this first larger international exhibition to this topic in co-operation with prominent specialized knowledge-shank-learn conceived.

With hochkaraetigen loans from the large European and American collections, the exhibition gives a fascinating, so to view ever not shown of the early history of pressure graphics. In the apron intensive scientific searches and complex art-technical investigations were employed. On the basis of new questions the exhibition throws new light on the oldest certifications of the European picture pressure and can numerous surprising results offer.

To the exhibition an extensive catalog in English and German expenditure, worked on by Richard S. Field (ehem. Yale University museum OF kind, appears new Haven), David acre Ford (University OF Massachusetts, Boston), Peter Parshall (national Gallery OF kind, Washington), Peter Schmidt (Johann Wolfgang von Goethe-Universitaet, Frankfurt), Yasmin Doosry and Rainer Schoch (Germanic national museum, Nuernberg). Ordering type in the publishing house of the GNM. Scientific colloquia accompany the exhibition in Washington and Nuernberg.

04 December, 2005

After receiving his B.F.A. in film from UCLA, Chicago-born Barry Kite spent the next five years traveling overseas. Returning to the San Francisco Bay area, he wrote and performed his own style of surreal poetry in local coffee houses. Renewing his interest in collage, he combined photographic and hand-coloring techniques to create the foundation of his current work.

03 December, 2005

June 6th, 2003 - June 27th, 2003LIGHTS AND SHADOWS [A Panorama of Greek Printmaking] FROM THE COLLECTIONS OF THE NATIONAL GALLERY-ALEXANDROS SOUTZOS MUSEUM (Athens) AND THE MUNICIPAL ART GALLERY OF CHANIA

The collection of engravings of the National Gallery - Alexandros Soutzos Museum in Athens is the most important of its kind in Greece. It contains extremely rare works of engraving, dating back to the first centuries of the emergence of this particular art-invention in Western Europe.

The collection of Greek printmaking goes back to the middle of the 18th century, with the rare paper icons (religious copper engravings) and their copper plates from Mount Athos - an excellent example of folk religiousness - up to our times with modern printers, specialized at the workshops of the Athens School of Fine Arts or abroad. In addition, and is being constantly enriched even with the actual tendencies of printmaking like Computer Art etc..

In the prints - collection of the Municipal Art Gallery of Chania one can find works, mainly dating back to the 60s and the 70s. Amongst them, woodcuts by Stavroula Voutsadaki, precious engravings by G. Gerontakis depicting sites of Chania that no longer exist, copper engravings by D. Galanis, engravings by the Cypriot Kanthos, as well as some works by A. Tassos, Vasso Katraki, E. Pallikaris and a lithograph by Dimitris Mitaras.

Two of the most important artists who, through their highly skilled technique and the originality of their thought, dominate Greek engraving, are Marcos Zavitsianos (1884-1923) and Lykourgos Kogevinas (1887-1940), both from the island of Corfu (Kerkyra). L. Kogevinas was the first to produce a large number of color etching. Internationally famous became Dimitrios Galanis (1879-1966), Angelos Theodoropoulos (1883-1965), Efthimis Papadimitriou (1895-1958) and Dimitris Giannoukakis (1898-1991).

However, Yannis Kefallinos (1894-1957), a great artist and craftsman, was the teacher of pre-war and most of the post-war engravers, such as Moshos (1906-1990), AJassos (1914-1985), Katraki (1914-1988), Grammatopoulos (1916) and Varlamos (1922). Kefallinos taught at the Athens School of Fine Arts from 1932 to his death. With his teaching method and his perfectly equipped workshop, he led towards the art of engraving -even temporarily - many of the most talented painters of the School, such as Yannis Moralis (1916). Some of his students have been members of the group "Free Artists" (1939-40) which, apart from new painters and engravers taking their first steps at the time, included artists like Yorgos Moshos and Dimitris Yannoukakis, while Dimitris Galanis a Greek-Frenchman, took part honorably.

The "First Hellenic Exhibition of Original Engraving" in 1938, organized by Papadimitriou, Yannoukakis and Velissaridis (1909-1994), revealed for the first time a complete image of the reach possibilities offered by the art of printmaking.

The new generations of engravers mainly come from the workshop of Thanassis Exarhopoulos (1927), who taught at the Athens School of Fine Arts from 1982 to 1994 and where of definite importance were freedom for experimentation and the development of personal criteria by the young creators. The content of the work of contemporary artists that can no longer present a common style or technique reflects the personal desire for research, often expressed in unconventional ways. Abstraction through linearity, the use of every old or new search in style of the Western European and the American engraving, but more so the obligatory commitment of printing on a surface such as paper -which forms the greatest barrier in the choices of an engraver - have ultimately proved to be the most significant tools for the definition of contemporary engraving.

The National Bank Cultural Foundation (NBCF) in the context of its effort to present Greek artists involved in the art of printmaking though out the 20th century in the best possible way, hosts an exhibit dedicated to the Egyptian-born Greek artist Yorgis G. Dimou. The Yorgis Dimou, Prints and Illustrations exhibit is being realised at the NBCF Thessaloniki Center from October 19, 2005 till January 6, 2006.

This is a sensitive map. It is also a "magic" map. Behind each icon you see on your screen lays a fascinating piece of the Greek history. If you wish to learn about it, just select the icon of your preference on the map or the corresponding title in the tables underneath.

A superb way of enjoying the journey to Crete is to fly to Athens and take the ferry from Piraeus (Pireas) - the port serving Athens.Pireas* to Heraklion sailings take about 9 hours on standard ferries (ANEK Lines), 6 hours on the highspeed Knossos Palace and Festos Palace of the Minoan Lines fleet. These overnight ferries arrive at their destination between 5.30 and 6.30 in the morning (the 6-hour capable ferries make use of their speed only in the extra daytime sailings). Pireas to Chania, the ANEK Lines overnight ferries take 9 hours, whereas the Highspeed catamaran of Hellenic Seaways takes 4.5 hours and sails at daytime. Pireas to Rethymno, is also served by ANEK Lines overnight ferries. *Pireas is also spelled "Piraeus", and is Athens' port [ see Pireas map]

Tickets can be bought in advance for all ferries from Paleologos Shipping Agency via their website www.ferries.grAthens guide from crete travel------------------------------------------------

Knossos is the site of the most important and better known palace of Minoan civilization. According to tradition, it was the seat of the legendary king Minos. The Palace is also connected with thrilling legends, such as the myth of the Labyrinth with the Minotaur, and the story of Daidalos and Icaros. The site was continuously inhabited from the Neolithic period (7000-3000 B.C.) until Roman times. The Linear B tablets (Mycenaean script) of the 14th century B.C. mention the city as ko-no-so.

Heraklion is the capital of Crete and of the prefecture of Heraklion. It is easily accessible from Athens by at least four flights a day.

The heraklion Archeological museum. This museum houses the most important collection of Minoan art and artefacts anywhere in the world. Twenty galleries on two floors display the exhibits in chronological order from the Neolithic Period to the Greco-Roman period. The magnificent Minoan frescoes are displayed in the upstairs rooms.

3 October – 31 December 2005The National Museum of Contemporary Art inaugurated on July 13th at the exhibition hall “The Factory” of the Athens School of Fine Arts a large scale exhibition under the title Videographies – The Early Decades.

The exhibition will be presented in two cycles, from July 13th until September 4th and from October 3rd until December 31st 2005, and will include 80 representative single channel video works by some of the most important artists in the history of video art, such as:

It is an encyclopedic exhibition, with works from the museum’s video art collection that offers the visitor a first complete presentation of the basic post-formalist trends of contemporary international art, which adopted this technological medium from the middle of the 60s until the 80s.

The works in the exhibition are organized in 5 synoptic thematic nuclei which reveal historic movements and trends such as Fluxus and body art, feminist art and language-centered art, deconstruction and transculturality, a. o.

The exhibition will be framed by educational programs, lectures and discussions in which correlations, exchanges and cross sections with the Greek artistic reality of the same period will be examined.------------------------------------------

International The exhibition of contemporary art Young Creation 2006 will Be held in October At the Bellevilloise, Paris.

Young Creation is year association of artists whose fine vocation is to promote arts by supporting Young artists. Its aim is to reflect the whole diversity and vitality of the current contemporary creation (painting, sculpture, photography, video, multi-media, installations, etc.)

Year independent panel of judges made up of personalities from the world of art, will award the Prix Young Creation. This prize consists of has financial help of 3000 euros given by the association.

A catalogues will also Be produced around the exhibition and the artists presented.

------------------------------------------Bligh's notebook and list of Bounty mutineers now digitised

The original notebook that William Bligh of HMS Bounty used to record the events of his epic journey in an open boat across the western Pacific to Timor in 1789 has now been digitised by the National Library.

Bligh based all his subsequent narratives about the mutiny and the voyage from present-day Tonga to Timor on the contents of the notebook which the Library has held since its purchase at auction in the UK in 1976.

Other than a transcription and facsimile of the notebook and the list of mutineers, edited by John Bach and published by Allen and Unwin and the National Library in 1987, this digitisation is the only work derived from the original manuscript.Bligh's notes detail the voyage in the Bounty's launch from when he and members of the crew loyal to him—put off the ship by the mutineers led by Bligh's second-in-command, Fletcher Christian—sailed to nearby Tofua and then more than 3500 nautical miles to Timor in less than seven weeks. Jennifer Lloyd from the Library's preservation section describes the preparation of the notebook for digitisation as a "major undertaking".

Casula Powerhouse Arts Centre invites all artists to have a say and protest against the Anti-Terror/Sedition Legislation and our right to dissent. It is an open invitation to all artists concerned about the implications of this proposed legislation to make a work that expresses your fundamental rights to freedom of expression as a means of protesting against the Federal Government's proposed legislation.

Me, Myself and I [Art Books, Prints and Objects]from 1 December 2005 (thu) until 8 January 2006 (sun)

This exhibition is a reflection on Canadian society about the day to day life and the human relations in general. The intention of the artist is to translate social, psychological and philosophical views trough the art language of the texture by printmaking works, handmade books and objects. Melinda Pap is working in research of the texture of the art work since 7 years starting first by painting and going further to printmaking she is mixing different medium discovering new ways of sending her artistic messages. Melinda started to experiment by printmaking using photo copy with linocut, later on combining dry point, linocut and lithograph with the possibilities of the new technologies.One of the biggest cycles of the artist IDENTITE started in 2003 with the creation of a little image of a person which has been transformed about 560 times in different persons in prints, books and objects (some of them sculptures).